The suave elegance of Maxwell made time stand still at the Chicago Theatre

Brittany Sowacke / Chicago Tribune

Maxwell, from a 2016 performance performs at the United Center.

Maxwell, from a 2016 performance performs at the United Center. (Brittany Sowacke / Chicago Tribune)

Althea LegaspiChicago Tribune

When Maxwell promises an intimate night, it isn't just talk. On Sunday, the first of his two-night stint of his “50 Intimate Nights” tour, the R&B crooner suavely delivered on the swoon with a career-spanning set that showed that classics transcend trends.

In an era when speed and incessant output are often valued over reflection, Maxwell's approach may seem out of step. The artist took seven to eight years between releasing his last three albums, but it's precisely that contemplation that adds resonance to his material. "For me, it's not a pop contest or about making money," he explained on Sunday, adding that he was grateful to sing songs he wrote when he was in his 20s while in his 40s and thanked fans for supporting his pace.

Their dedication was rewarded with a riveting, soulful show. Backed by an excellent ensemble that included longtime collaborator Hod David on guitar and Chicagoans Darryl Howell on drums and backing singer LaTina Webb, the purveyor of sophisticated smooth emerged from a giant, moon-styled globe to open with the poignant "Pretty Wings." From attraction's first blush (strutting, grooved-up "Get to Know Ya") to lust ("…Til the Cops Come Knockin'") and pleading ("W/As my Girl," "Fistful of Tears") on through the hope of lasting love (closer "Whenever Wherever Whatever"), he touched on romance's nuanced intricacies, punctuated with his tingly falsettos and suave dancing.

But it wasn't all seductive bedroom jams and sexy come-ons. Maxwell addressed gun violence and unjust imprisonment, dedicating the compelling "Lifetime" to victims of those conditions, and later thanked fans for voting in the midterm elections. He also highlighted his most recent single slated for his forthcoming "Night," the final LP installment of a trilogy he launched about a decade ago. He dedicated the yearning, empowering "Shame" to every woman; it was a call for self-love and also addressed the concerning negative impact social media has on how people relate to each other, both romantically and beyond.

While Maxwell's lyrics primarily meditate on the importance of love and the in-between feelings that can accompany and derail it, he also injected humor into the mix. He exaggerated dance moves and performed a hilarious freestyle riff ("I want to let you know that this (stuff) isn't auto-tuned / Brown liquor in my cup / I'm making this (stuff) up," he sang) before covering Al Green's "Simply Beautiful."

Eschewing trends and machismo in favor of mood, emotion and a discerning look at how love and social justice inherently intertwine, Maxwell's sumptuous material and savvy performance was testament to his timelessness.